Professional .active .monitors .and .professional .power .amplifiers .will .generally .have .balanced .inputs.
When . mixing, . you . can . connect . several . pairs . of . additional . speakers . (mid-field, . near-field, . etc.) . to .
pairs .of .outputs .and .use .Focusrite .Control .to .route .your .mix .to .the .different .outputs .as .desired, .to .
check .your .mix .on .the .different .types .of .speaker.
NOTE: . Y ou . r un . t he . r isk . o f . c reating . a n . a udio . f eedback . l oop . i f . l oudspeakers . a re . a ctive . a t . t he . s ame . t ime .
as .a .microphone! .We .recommend .that .you .always .turn .off .(or .turn .down) .monitoring .loudspeakers .
while .recording, .and .use .headphones .when .overdubbing.
Working with surround sound
Because . t he . S carlett . 1 8i20 . i s . e quipped . w ith . t en . l ine . o utputs, . i t . i s . i deally . s uited . f or . u se . w hen . w orking .
in .multichannel .sound .formats .– .LCRS, .5.1 .surround .or .7.1 .surround, .for .example. .Using .Focusrite .
Control, .simply .route .each .DAW .monitor .output .to .the .desired .speaker. .
The . e xample . b elow . s hows . h ow . y ou . w ould . c onnect . t he . s ix . l oudspeakers . i n . a . 5 .1 . s urround . m onitoring .
arrangement.
Rear Left (RL)
The . table . below . summarises . how . some . common . multichannel . formats . could . be . mapped . to . the .
Scarlett .18i20's .outputs .for .monitoring .purposes, .as .configured .within .the .DAW:
FORMAT
OUT .1
Quad
L
2.1
L
5.1
L
7.1
L
RL/RR .= .Rear .Left/Rear .Right; .SL/SR .= .Side .Left/Side .Right; .LFE .= .sub-bass .channel
Left (L)
Centre (C)
Note - Amplifiers not shown
OUT .2
OUT .3
R
R
R
C
R
C
1
4
3
2
8
7
OUT .4
OUT .5
LFE
LFE
LFE
SL
Right (R)
(Sub Bass) LFE
Rear Right (RR)
OUT .6
OUT .7
RL
RL
SR
RL
OUT .8
RR
RR
RR
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